Nick Hern Books, 2007 - 274 ページ
Drawing on a lifetime’s experience of playing Shakespearean roles, Oliver Ford Davies offers practical advice to actors, directors, and drama students on a wide variety of scenes, characters, speeches, and individual lines from almost every one of the plays. An authoritative, hands-on guide through the practical challenges involved in performing Shakespeare.
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There are always two energies at work in Shakespeare's speeches : the energy of the whole thought , and the energy of the ... This could be the intended end of her speech , and it presents the actor with an interesting choice .
That's what ( the director ] John Dexter used to say : if you had a long speech , you couldn't just do it , blah blah blah , you have to do the middle bit fast , then do the end a bit high and gradate it , do machinations with it ...
Every new proposition starts at the caesura , suggesting that the speech tumbles out remorselessly and that the ideas have been very much on the Duke's mind . Long and short vowels are alternated to great effect : ' breath ' and ' skyey ...
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THE ELIZABETHAN ACTOR 3 The Roots of Elizabethan Theatre
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